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Filth (2013)

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A corrupt, junkie cop with bipolar disorder attempts to manipulate his way through a promotion in order to win back his wife and daughter while also fighting his own inner demons.

Director:

Jon S. Baird

Writers:

Jon S. Baird, Irvine Welsh (based on the novel by)
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Popularity
2,100 ( 446)
9 wins & 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
James McAvoy ... Bruce
Jamie Bell ... Lennox
Eddie Marsan ... Bladesey
Imogen Poots ... Drummond
Brian McCardie ... Gillman
Emun Elliott ... Inglis
Gary Lewis ... Gus
John Sessions ... Toal
Shauna Macdonald ... Carole
Jim Broadbent ... Dr. Rossi
Joanne Froggatt ... Mary
Kate Dickie ... Chrissie
Martin Compston ... Gorman
Iain De Caestecker ... Ocky
Shirley Henderson ... Bunty
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Storyline

Scheming Bruce Robertson (James McAvoy), a bigoted and corrupt policeman, is in line for a promotion and will stop at nothing to get what he wants. Enlisted to solve a brutal murder and threatened by the aspirations of his colleagues, including Ray Lennox (Jamie Bell), Bruce sets about ensuring their ruin, right under the nose of unwitting Chief Inspector Toal. As he turns his colleagues against one another by stealing their wives and exposing their secrets, Bruce starts to lose himself in a web of deceit that he can no longer control. His past is slowly catching up with him, and a missing wife, a crippling drug habit and suspicious colleagues start to take their toll on his sanity. The question is: can he keep his grip on reality long enough to disentangle himself from the filth? Written by Lionsgate UK

Plot Summary | Plot Synopsis

Taglines:

This Little Piggy went to town! See more »

Genres:

Comedy | Crime | Drama

Motion Picture Rating (MPAA)

Rated R for strong sexual content, graphic nudity, drug use, language and some violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | Germany | Sweden | Belgium | USA

Language:

English | German | Scots

Release Date:

24 April 2014 (USA) See more »

Also Known As:

Brud See more »

Filming Locations:

Edinburgh, Scotland, UK See more »

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Box Office

Budget:

$5,000,000 (estimated)

Opening Weekend:

£247,860 (United Kingdom), 29 September 2013, Limited Release

Opening Weekend USA:

$7,526, 30 May 2014, Limited Release

Gross USA:

$34,321, 20 July 2014
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

One of the singers in the back of David Soul's car during Silver Lady, is his daughter, actress China Soul. See more »

Goofs

While on holiday in Hamburg, Bladesey reads from his guidebook and tells Bruce that modern Germany has existed since 1865. German unification happened in 1871. See more »

Quotes

[first lines]
Carole: People ask me, "Carole, how do you and Bruce keep the spice in your marriage?" Well, I tell them it's really simple. I'm just the ultimate tease.
[walking down the hallway in lingerie]
Carole: Me and Bruce, we're not that different. We know what we want. We know how to get it. Like this promotion he's going for. We both know he'll win. And when he does, the Robertson household is gonna be one big, happy family again. I kid you not.
See more »

Crazy Credits

Light-hearted animation featuring farm animals and cast credits. See more »

Connections

Features Frank Sidebottom's Fantastic Shed Show (1992) See more »

Soundtracks

Don't You Want Me
Performed by Felix
Written by Derek Jenkins (as Jenkins) / Dwayne Richardson (as Richardson) / Cheri Williams (as Williams) / Ware / Felix (as Wright) © 1992
Published by WB Music Corp/CRK Music Inc/Viceroy Music Ltd
Master recording courtesy of Warner/Chappell North America Ltd
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Frequently Asked Questions

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User Reviews

 
Grubby in a good way
11 October 2013 | by rooeeSee all my reviews

This is another film adaptation of an Irvine Welsh novel that was referred to as "unfilmable", although when reading the book when it first came out I for one was struck by the tightness of the narrative and the cinema-friendly focus on a single protagonist.

The antihero in question is Bruce Robertson (James McAvoy), a dodgy copper trying to make the most of a promotion opportunity by ruining his rivals through a series of cruel intricate schemes. Meanwhile, his mind is deteriorating, and he's haunted by flashbacks, waking dreams, and humanoid livestock. The film is fairly faithful to the source, and the changes (including some understandably blunted edges) are down to the different artform.

Irvine Welsh has said that McAvoy's performance is better than De Niro's in Taxi Driver. I don't think this is a suitable comparison. Scorsese's seminal feature was about a post-traumatic depression, whereas Jon S. Baird's film is more manic. For me, the film Filth most resembles is A Clockwork Orange. Like Kubrick's masterpiece, the entire aesthetic is informed by the subjectivity of the central character. And there are subtler nods: the use of classical music, the bleached windows, Jim Broadbent's reinvention of the Deltoid character (a probation officer then, a psychiatrist now), and the visual reference to 2001: A Space Odyssey.

Before the film's release, I wasn't convinced by the casting of McAvoy, but after watching it I can safely say he's transformative – to capture such bipolar savagery and the fear in a single facial expression is the sign of a special performance. The supporting cast provides a colourful blend of caricatures. Jamie Bell, Eddie Marsan and Imogen Poots all make an impact in the few moments when McAvoy isn't dominating the screen.

For me, the dud notes concern the tone of the film. Sometimes Baird's shifts between the schizoid black comedy of Robertson's outbursts and his introspective guilt about his past are so sudden and sentimental that their capacity to convince is lost in the (lack of) transition. Part of this is down to Clint Mansell's disappointingly soft score, whose tinkly piano and lifeless strings often feel incongruous, more awkward than deliberate.

But these minor issues don't detract from a powerful, funny, and finally moving depiction of mental disintegration. To say that it's the best Welsh adaptation since Trainspotting may not be saying much – so I'll say instead that it's a very good film in its own right.


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